Southeast Asian Design Reflects Diversity

Graphic design has a long history in Vietnam.

This article was written May 01, 2003 by William Harald-Wong for AIGA (http://www.aiga.org/content.cfm/southeast-asian-design-reflects-diversity). Has design in Asia progressed over the past 6 years? Read and comment!

Vietnam Vietnam underwent a dramatic transformation in the mid 1990’s. The dour, Soviet-style police state is changing into a vibrant, dynamic and increasingly open society. However, the old mindset and the new open-mindedness co-exist rather comfortably. It is not uncommon to find the streets plastered with emblems of the Party next to the Swoosh and Party officials spewing Marxism-Leninism wisdom as they embrace consumerism.

Graphic design has a long history in Vietnam. All currencies for Indo-China were designed and printed in Vietnam. The country is renowned for its superlative stamp designs, propaganda posters and publications on fine art and photography.

When Vietnam opened its economic door, there was the inevitable rush of international advertising agencies into the country. These agencies were not allowed to work for local clients but only to service multinationals. This restriction spurred the growth of local advertising agencies and together, they now dominate the creative industry. Unfortunately, as the nation reaches for prosperity, only a small part of the fortunes trickle down to the crowded design community. There are nearly 1,000 design studios – they run the gamut from small publishing houses to signboard painters.

Fees for design services (rather than production costs) have not even begin to appear in the budget plans of Government or local companies. The majority of small to medium sized companies design their own logos and do so only when jolted by the sudden realisation that one is needed for a business card. Many local CEOs find it too time-consuming to spend a month or so working with a professional designer on a corporate identity programme. Vietnam is still far from creating its own Legend or Haier, the powerful Chinese brands.

Vietnamese designers work in isolation and are cut off from the rest of the world and information on graphic design is scarce. The bookshops in Hanoi and Ho Chi Minh City – the two largest cities in Vietnam – stock the occasional book on Western design, usually published a decade ago. Even Chinese reference books on floral and animal/bird motifs and patterns are rare. Only one shop carries materials for advertising agencies (Pantone colour swatches, colour markers, even Letraset transfer sheets!) but these are priced beyond the means of most local designers.

Training courses for graphic designers vary between software training and the more traditional exercises of ‘decorating squares and circles,’ painting flowers and leaves and studying traditional motifs. Advanced classes include designing logos, posters, packaging, paper bags, invitation cards and product catalogues. Even today, colleges are not equipped with computers nor do they have access to the Internet. College libraries are poorly stocked, often with instruction books dated from the Soviet era.

But the Vietnamese are resourceful and exceptionally hardworking. Many hold two, sometimes three jobs at the same time, working 12 hours, seven days a week. And the fiercely independent, yet gentle Vietnamese spirit will exert itself – observe the Communist Party flags fluttering atop the stark, grey buildings, they are not the red/black combination one expects, but in pretty shades of yellow, baby blue and pink.

Thailand

The graphic design scene in Bangkok, Thailand, couldn’t be more different. Bangkok is a carefree, daring-do, almost-anything-goes society. Its people; a mix of Chinese, Indian, Sri Lankan and Khmer, are laid-back and hospitable. Thailand is dubbed ‘The Land of Smiles,’ but locals prefer to call it ‘Land of Laughs.’ Humour and irony feature prominently in advertising and design.

The free-spirited environment has spawned many creative hot shops with names like Smaller & Better Design, Blind Co., Grandma And Her Maid, and has encouraged many independent designers to create their own projects – exhibitions and happenings, handmade books from inkjet printers, designing funky objects for retail, etc.

Like Vietnam, the advertising industry dominates. Many graphic designers support the art directors, though of late there has been a growth of design firms specialising in branding and corporate identity. The field is highly competitive. For big projects three bidders are usually required to take part in a free pitch, and in some cases the number could reach up to 10 to 15!

This Buddhist city has undergone several reincarnations – from a sleepy backwater city, to a boom city, to a busted city (badly hit by the Asian financial crisis in 1997) and currently as Asia’s new metropolis of cool. Thailand is experiencing a film revolution and has a booming music industry. Many graphic designers have taken up filmmaking or are creating ‘designer’ and household objects for export.

On weekends, many graphic designers are seen at the famous Jatujak Weekend Market, the biggest open craft and design retail and wholesale market, where they negotiate with buyers from lifestyle shops and luxury department stores from around the world. Ironically, the superior design quality of Thai household objects are directly linked to the financial crisis when many out-of-work graphic designers switched to home industries.

The Philippines

The Philippines has always been, from the viewpoint of neighbouring Southeast Asian countries, slightly out of the radar screen. This is because of its perceived distant geographical location, and also because it occasionally announces itself to be the only Christian nation in Asia – somewhat out of synch with its largely Taoist/Buddhist/Muslim neighbours. (Philippines, of course, is quintessentially Asian, with many indigenous peoples and a large Muslim population in the south).

Again, the advertising industry reigns supreme. Because of the consumer-driven nature of its economic growth, shopping malls and consumer-based companies generate the most work for graphic designers. The most successful work incorporates strong emotional values (family relationships are important) and humour.

Jollibee, the biggest fast-food chain in the Philippines, has beaten multinationals such as McDonalds and Burger King at their own game by aggressively franchising and tailoring its food to the Filipino palate. It is successful in many parts of the world, especially where Filipinos are concentrated. Therein lies a lesson for the rest of the region.

Filipinos are known to be artistically and musically inclined and these inherent characteristics have produced excellence in the entertainment industry, performing arts, fine arts and crafts. Unfortunately, society has not given graphic design its due recognition. Many Filipino graphic designers, who have been educated in the USA or who are working in the Middle East, do not return home.

In recent years, the web design community has been highly active – there are many community websites and online magazines for Filipino designers, e.g. www.philweavers.net , www.halfproject.com , www.kakosa.com and others. One only need to look into these websites to realise that there is electrifying energy and creativity zapping around in the Philippines.

Three Countries

Diverse as these three countries are, there are stumbling blocks common to all, which are stifling the growth of the graphic design profession.

- Corruption and favouritism are prevalent, especially when bidding for large projects – Free-pitching and professional ethics among graphic design practitioners are worrisome – Clients cannot differentiate between the services offered by advertising agencies and design firms – Technology is moving at a rapid pace, but clients knowledge and understanding of graphic design remain limited – Lack of awareness of intellectual property – All designers wrestle with the pull of trends in the West and nostalgia for an indigenous style.

Captions for images to the right.

THAILAND

Boy Thai. Boy Thai is a band that interweaves traditional Thai music with contemporary Western music Design company: Pink Blue Black & Orange (The Color Party)

Packaging. Packaging design for Nam Prik Khun Ya (Grandma’s spicy sauce) Design company: Pink Blue Black & Orange (The Color Party)

Student Design Award. Poster, Call-for-entries for the Conqueror Student Design Award 2002 Design company: Pink Blue Black & Orange (The Color Party)

Corporate Info Kit. Design company: Pink Blue Black & Orange (The Color Party)

Devolution Thai. Design company: Not known

VIETNAM

Uncle Ho. “To be grateful to Uncle Ho forever”, by Vu Viet Quang, 1972

COV Logo. Logo for Copyright Office of Vietnam, by Nguyen Duy Lam, 2002

Hai-Duong. Branding for a traditional cake, by Pham Tri Tue, 1986

kite_01.jpg. Envelope for UK Alumni of Vietnam, by Pham Thanh Huong, 2002

kite_02. Newsletter for UK Alumni of Vietnam, by Pham Thanh Huong, 2002

Designers from the past… Georg Olden

Georg Olden, graphic artist and advertising vice president, designed the 1963 five cent U.S. postage stamp commemorating the 100th anniversary of the Emancipation Proclamation. Prior to this, he was head of the graphic arts department at CBS. Among other things, he was responsible for the I’ve Got a Secret lead in logo and for the design of the To Tell the Truth figure.

Born 1920, Birmingham, Alabama, Deceased 1975, Los Angeles, California, Olden is recognized for his pioneering contributions to the field of television graphics and for leading the way for future African American designers. Find out more about this extraordinary person at: http://www.aiga.org/content.cfm/medalist-georgolden

Designers421: A Long-Overdue Movement

I feel like I just witnessed the beginning of a movement. Long overdue, but there’s no better time than now. I flew to Chicago from DC, not sure exactly what I’d find, but knowing that I wanted to be part of something bigger than myself.

THE D421 MOVEMENT

The event was the official launch of Designers for the 21st Century (D421)—a design network that seeks use social networking and media tools to initiate, facilitate and celebrate the past and current work of black designers and support the development of future design practitioners and leaders. The launch was part of NeoCon 2009, the largest conference for interior designers in North America. Being a multi-disciplinary designer, I was excited about experiencing: a) NeoCon for the first time (talk about sensory overload); and, b) being in the presence of other talented, passionate and committed Black designers from around the country.

A self-professed lover of the arts, I can’t say enough about the beautiful architecture and rich culture of this diverse city. As a friend of mine described Chicago, it has the excitement and creative stimulation of New York, with the hospitality of the Mid-West. True to that description, I was greeted by friendly faces and stimulating dialogue with most everyone I met. In particular, my fellow designers of color who I felt like I’d known for much longer than the three days over which we talked non-stop about our common interest to make an impact in our communities and influence the next generation of youth to follow the path to a fulfilling career in design.

TRAILBLAZERS

Chicago was the perfect place to host an event of this kind—being that it is a city well known for its wealth of public art; headquarters of the first Black advertising agency (Vince Cullers Advertising); and home to the legendary Charles “Chuck” Harrison, a retired industrial designer who was the first African-American executive to be hired by Sears, Roebuck and Co. where he worked for more than 30 years. I was honored to meet this design giant who is also the first African-American to be awarded the Lifetime Achievement Award at the prestigious Cooper-Hewitt Design Awards.

This trailblazer, who has been referred to as the Jackie Robinson of design and who too few of us know about, designed more than 750 products in the course of his career with Sears, Roebuck and Co. All of us, whether we realize it or not, have been touched by the work of Chuck Harrison, a man who remains humble and humorous to this day. Think Viewmaster, plastic garbage can, blow dryer, baby crib, bicycle, sewing machine, calculator, and countless other products. His work has influenced so many and made a positive impact on the lives of millions of people—and continues to do so. Judging from the pep in his step, he isn’t slowing down his active involvement in the design community anytime soon. I wanna be like Chuck when I grow up. And I told him so.

And then there’s the animated Vernon Lockhart (recognized by Graphic Design USA as “One to Watch” in 2008) and the Project Osmosis team. What a phenomenal program! Project Osmosis is an innovative mentoring initiative that was established to further design education for underserved minority youth. The organization has helped more than 300 inner city students gain access and knowledge about career opportunities in design.

Vernon and I talked passionately about design, business, D421, the challenges that face minority designers, our commitment to the next generation, and so much more. We had so much in common, it was like finding my long lost twin! I also spoke at length with a number of other Black design professionals including: the spirited Joi Roberts, Design Ambassador for Motorola and a professional devoted to the community through her contributions to design culture, education, and strategic initiatives; Cheryl Durst, a savvy leader who is the Executive Vice President and CEO of the 12,000 member International Interior Design Association (IIDA); Dr. Noel Mayo, another design legend who is the owner and President of Noel Mayo & Associates—the first African American industrial design firm in the United States (at last count, he held 166 patents); and so many others who have made and are continuing to make an impact in the design community and are trailblazers in their own right, but haven’t received their due recognition.

THE FUTURE OF DIVERSITY IN DESIGN

And that is my hope for D421. That the commitment and passion that fueled the initiative continues and makes the organization sustainable (D422 anyone?). That every individual who attended the launch stays connected and involved. That more of us bring our children to these events so that they can see people who look like them using their God-given talents and following their passion for design. That we, as the Black design community, are able to fill in the educational and mentoring gaps we know exist locally, nationally and internationally; thereby encouraging more minorities to enter the design field—whether it’s graphic, web, industrial, interior, architecture, or fashion.

The world is changing and we have to take advantage of this opportunity that our ancestors didn’t have. Cultural diversity is an even more important issue in business than it ever was. And as designers, problem solvers and communicators, we have an obligation, not only to mentor those who want to follow in our footsteps, but also to support each other, recognize our achievements and get the world to see and understand the importance of the contributions we have already made and will continue to make as designers of color.

There is strength in numbers and I hope that every one of us reaches out and encourages someone else to join this budding network of designers who are committed to community and passionate about making a difference. I’m so glad I came.

Many thanks to all the founders of D421 for their vision and leadership and in particular, Meshella Johnson, Program Director of FocusOnDesign who worked hard to make sure D421 had a place in NeoCon2009.

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Julian B. Kiganda is President of Vibrant Design Group LLC, an award-winning multi-disciplinary design firm which specializes in creating compelling brands, marketing campaigns, and events for culturally diverse audiences. www.vibrantdesigngroup.com

Great Launch! NeoCon^® Chicago, June 15 – 17, 2009

Speaker Panel at the D421 Seminar event during NeoCon^® June 17, 2009

Attendees at the D421 Seminar event during NeoCon^® June 17, 2009

Attendees express themselves at NeoCon during D421 Seminar Event, June 17, 2009.

D421 Launch Party was held in IIDA’s Showroom, Chicago – June 17, 2009. Sponsors: IIDA, Motorola, FocusOnDesign and Transcend Innovation LLC

Meshella Johnson and Joi Roberts preparing for the Launch Party in IIDA’s Showroom, Chicago – June 17, 2009

Some of the designers and guests at the Launch Party in IIDA’s Showroom, Chicago – June 17, 2009.

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